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Dear David,

Thank you for your response.

I have not been involved in any of the discussions between Creative Scotland and artists or organisations and have not intended any of the roadshows, so am not qualified to give an authoritative view about what has gone on.  So any suggestions I can give will be informed only by general experience and common sense.

Firstly, I think it would be a good idea to separate the various issues and deal with them one at a time. The current piling in of views about everything is a bit overwhelming and in danger of tipping into some personal mudslinging which would be detrimental to expressing good points. It would be terrible if some of the important issues raised were lost in a tirade of personal comments which painted the theatre community as whinging luvvies.

One way of grouping the issues would be:

  1. Uncertainty about the future stability of companies affected by the end of flexible funding
  2. Current communication issues regarding the companies
  3. Lack of trust many in the sector feel about CS (largely related to 1  and 2 above)
  4. Future strategy and funding particularly with regard to use of lottery funds v grant in aid
  5. Process of decision making
  6. Ideology
  7. Communication generally

I would take the first three for now.

I would wait and see what CS has to offer as a cogent plan.  Andrew Dixon has consistently said he values the companies and , recently, that there will be funding and even  more funding for them under different funding streams and strategic commissions. It seems that the companies believed this when he said it at first, that they were told not to worry and that it would be all right.  Much of the current anxiety is around the uncertainty of the future.  Companies have been told that one stream has ended without knowing what the next one is.  So if Andrew and the companies are right, this is simply a matter of timing and a very unfortunate communications process.

From the outside, I have seen the process of the end of flexible funding as more threatening to some of the companies, and have exhorted companies to develop new sources of sustenance.  But that was before the introduction of new lottery funds so lets hope I am wrong.

I believe CS should acknowledge their part in this communications debacle. I tend to side with the cock-up over conspiracy theory.  I hope I am right and if I were then we should expect some acknowledgement of this from CS.

This would go some way to rebuilding trust.

Secondly, I do believe that there is a need to establish some sort of ongoing open communication between the wider sector (not necessarily the funded organisations)  and CS, and possibly wider.  There are several different ways of doing this, including through the board of CS playing an active role and through the creation of a forum.  I don’t have any specific proposals but I am sure others will.

The comparison you make of Creative Scotland and National Theatre of Scotland invites not only comments on the similarities between the two but also on the differences which go some way to explaining some of the current communication problems.

Both NTS and CS are new models created from different combinations of the same ingredients: political and cultural ambition, demand and disquiet. Both have had to develop trust and credibility in the arts community.  Both had chairs appointed by the Culture Minister.

But whereas..

…NTS is an arts organisation, and a limited company with charitable status, where the board directors  are appointed independently and where the board appoints the director without any Government influence. Under the leadership of Vicky Featherstone and the guidance of the board, NTS has consistently worked on relationships to build credibility and trust.  NTS success and even survival is dependent on good working relationship with the arts community.

..CS is a non departmental government body (NDPD) whose board are appointed by Scottish Ministers to deliver its purpose as determined in law. Scottish Ministers may give directions, although not on matters of artistic judgement, and CS is directly accountable to Scottish Ministers not to the arts community.  CS is not an arts organisation.  It is an instrument of government albeit at arms length.

I share your aspiration that CS should become an internationally recognised leading Scottish cultural organisation.  Like NTS, it is a new model which we have invented for the 21st century as part of Scotland’s national journey.  And like NTS, making the model really work will be dependent on connections, cooperation and collaboration rather than 20th century control and command.

Anne x

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fuciods in tide swept condition

The reaction of the arts community to Creative Scotland’s end of the euphemistically-titled flexible funding stream continues to gather steam with this weekend’s open letter from leading playwrights. And playwrights say it better than most of us.  David Greig’s masterfully compelling open letter set a tone which has swept along artists and sympathisers in a tide of protest.

When Creative Scotland announced the end of flexible funding over a year ago there was no such outcry.  Perhaps if playwrights and artists had applied their thinking , passionate prose and inflence around the announcement of the end of flexible funding a full year ago, the dialogue could have been a lot more constructive.

 And it is conceivable that the whole protest could have been avoided had Creative Scotland not only announced the new funding streams with which it intends to support the existing companies but discussed and  finessed the details of how that would work for the companies BEFORE simply announcing the end of the specific funds which support the companies currently.

That moment has passed but the hostile atmosphere created by the process will make a smooth transition to the new funding streams very difficult.

But let’s imagine for a moment that Creative Scotland’s new funding arrangements will, as promised by Andrew Dixon, delivers support worthy of the arts companies.  The Creative Scotland senior team is still relatively new and comes not from the arts community in Scotland. Their communications head comes not from the arts at all.  This could be seen as a refreshing lack of baggage, enabling bold decision making and communication unfettered by being too embroiled with our cultural community.    The recent seemingly lack of consideration of the impact of CS’s communication on those whose stability it affects may  reflect this limited experience and understanding of the arts community in Scotland.  A sin of omission rather than one of commission perhaps.

The Chair of Creative Scotland, Sir Sandy Crombie, has batted back an open letter to the open letter of the playwrights, reaffirming the commitment to those companies funded under the current flexible funding arrangements.  He also draws attention to the other 80% funding provided by CS including for the foundation organisations, like the Traverse, Tron, Dundee Rep, Lyceum and Citizens’ Theatres, which have supported and commissioned much of the fantastic world class theatre highlighted in Greig’s  #stworldclass twitter feed.

All of us in the cultural community in Scotland need to pay more attention to avoid the more negative aspects of this outcry, the anxiety caused, the sucking of energies into defensive action rather than developing ideas and making work.  That means that CS should improve its communication strategy.  It also means that those of us outside, particularly our brilliant writers and poets, should pay more attention to announcements from CS, the Scottish Government and all and reflect on implications for the sector before decisions are made.

An important emergent issue for the future is the extent to which our artists and arts organisations are going to be dependent on lottery funding. The increased reliance on lottery funds rather than recurrent grant-in-aid funding has been emphasised by Creative Scotland.   Lottery funding must be ‘additional’ and can never be core. Therefore, no organisation entirely funded by lottery funds can  expect a seamless security if it is largely dependent on CS rather than other income.  It would be useful to understand what CS principles are going to be regarding the use of grant in aid and lottery funds.  Are only the foundation organisations to be funded from grant in aid?

And we should build on the positive aspects of the furore. The intelligent challenge from individual commentators such as Stramash Arts and Roanne Dods, the openness of communication and leadership from artists are things to be celebrated and on which we should build.